Arthur Mayger Hind, Early Italian Engraving: A Critical Catalogue with Complete Reproduction of All the Prints Described, vols. 1-4 (part 1, Florentine Engravings and Anonymous Prints of Other Schools), London 1938; vols. 5-7 (part 2, Known Masters Other Than Florentines, Monogrammists and Anonymous), London 1948

In this period, Jacopo de Barbari and Albrecht Dürer had a mutual impact on each other's art, which is reflected also in this print. According to Van der Sman 2003, the nude figures were inspired by Paduan examples by Francesco Squarcione and Andrea Mantegna. Two drawings by Bernardino da Parenzo resemble Barbari's print: one in the British Museum, inv. no. 1919,0510.1, the other in Christ Church, Oxford, inv. no. 0267; see Hugo Chapman, 'Padua in the 1450s: Marco Zoppo and his Contemporaries', London 1998, no. 24. During his stay in Venice, Barbari perhaps saw Parenzo's pseudo-antique inventions which inspired this print composed of more elegant figures. This work was most probably engraved on the other side of the plate which had Apollo and Diana (Bartsch VII.523.16).